Espejos Sagrados: El arte visionario de Alex Greyby Alex Grey, Ken Wilber (With), Carlo McCormick (With)
Esta serie única de pinturas lleva al espectador a un viaje gráfico y vionario a través de la anatomía física y metafísica del ser. En su exploración dentro de la naturaleza del hombre/mujer, Alex Grey retrata el sistema nervioso, el vascular, el esqueleto y demás sistemas corporales con un realismo desmenuzador y
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Esta serie única de pinturas lleva al espectador a un viaje gráfico y vionario a través de la anatomía física y metafísica del ser. En su exploración dentro de la naturaleza del hombre/mujer, Alex Grey retrata el sistema nervioso, el vascular, el esqueleto y demás sistemas corporales con un realismo desmenuzador y anatómicamente exacto. Después pasa a los sistemas espirituales/energéticos con imágenes como el Entramado de la Mente Universal, visualizando el simbolismo esotérico y sagrado del cuerpo y las fuerzas que definen su campo de energía viviente.
Los Espejos Sagrados, presentados aquí en su totalidad, han sido exhibidos por todo el mundo. Las figuras son de tamaño natural y se enfrentan difectamente al espectador para conseguir, precisamente, el efecto de espejo: permaneciendo frente a ellos el espectador puede "ver dentro" de sí mismo. Además, Grey ha pintado los diferentes sistemas en un estado ideal y saludable para que puedan funcionar como ayuda en la curación mediante visulizaciones o meditación. Al retratar los diferentes sexos y razas, Espejos Sagrados también nos cuestiona sobre cómo nos vemos reflejados en dos demás.
Los ensayos de Ken Wilber, eminente psicólogo transpersonal, y del destacado crítico de arte de Nueva York, Carlo McCormick, exploran el elemento espiritual del arte desde el punto de vista de la Filosofía Eterna y trazan el desarorollo del trabajo de Greyincluyendo sus representaciones de artejunto con el sendero del artista/chamán. Por su parte, el propio Grey explica la concepción, construcción y simbolismo de Espejos Sagrados y otros cuadros (reproducidos en este libro) de su rico y variado trabajo, incluyendo Gaia: El Alma del Mundo, interpretado como el árbol o la membrana de la vida que toma parte en el continuo ciclo de nacimiento, susteno y muerte; y el Viaje del Sanador Herido, que describe el descenso chamánico, la desintegración y tansmutación del Ser.
Fascinado desde la adolescencia con los temas de la mortalidad y la polaridad, Alex Grey ve en la anatomía humana un microcosmos de los muchos sistemas y niveles de orden en la naturaleza. El pintor pasó vaiors años en una escuela de medicina estudiando la anatomía humana con un interés especial en la interconexión del cuerpo con la mente y el espíritu. Su trabajo se ha exhibido en las Galerías Stux de Nueva York y Boston; en el New Museum de Nueva York; en el Museo de Arte de la Universidad de California en Santa Barbara; en la Exposición de Arte Internacional de Chicago; en la Galería Regional de Arte de Londres en Canadá; en el Gran Palacio de París; en la Bienal de Sao Paulo, Brasil, y en numerosas otras exposiciones.
"The majority of Grey's recent work depict spiritual/energetic systemsthe sacred and esoteric symbolism of the body and the forces that define its living field of energy."
"These are extraordinary works, exquisitely reproduced. Some people will be illuminated and transformed in the process of viewing. I found them compelling."
"Mr. Grey's paintings, as detailed and anatomically accurate as medical illustrations, present man as an archetypal being struggling toward cosmic unity…Grey's vision of a flawed but perfectable mankind stands as an antidote to the cynicism and spiritual malaise prevalent in much contemporary art."
"Reverence and beauty radiate from every page."
- Inner Traditions/Bear & Company
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That Odd Mary Magdalene
It seems that even among Jesus’ disciples, Mary played a privileged role. Why, then, did the Roman Catholic Church feel obliged to almost entirely erase this female figure and her role? Was it because of a now proven anti-feminism that existed at the heart of the Church from the early Middle Ages? The Christian conception of femininity, which has certainly greatly evolved in the modern world, especially since the council of Vatican II, is due both to Greco-Roman legacy and to the Hebraic options. With the exception of the female characters of Genesis, who are gripping figures to say the least, the scribes of the Bible lowered the status of Woman by making her impure and thus not apt, for example, to play a sacerdotal role. The idea that Mary Magdalene enjoyed total equality with the apostles has never crossed the minds of Church theologians. Because priests are the legitimate heirs of the apostles, such a standing would make Mary Magdalene, on the one hand, a priestess--how horrible!--and on the other, one of those on whom the apostolic sacerdotal filiation was founded.
Yet, when Mary of Bethany washes Jesus’ feet and anoints him with precious perfume, which Judas, the group’s treasurer, believes could be put to a more profitable use, she and Jesus are enacting a kind of sacerdotal and royal ordination--with Mary serving as the priestess who performs the ritual.
Is it forbidden to think that Mary of Bethany, over the course of those long moments spent at the feet of the Lord, could have heard what he had to say or at least sensed the full scope of Christ’s mystery even if she did not grasp it in its entirety? Jesus persistently tried to lead his disciples to realize this--if only in the 飬at of the Transfiguration!--but their hearts remained curiously closed all the way to the end. Mary, however, did perceive and accept it. On that day she knew the moment had come to manifest this mystery in chiaroscuro. In a kind of prophetic intuition . . . Mary anointed the head of Jesus, recognizing and presenting him as King and Priest, and anointed his feet as Messiah sent from God.
Such a presentation obviously involves a rite of enthronement that can be performed only by a person vested symbolically with sacerdotal powers. Jesus was fully aware of this when he answered Martha’s reproaches by saying that Mary “had the best part.”
At that time there were two sites named Bethany: a town two miles east of Jerusalem, where Mary, Martha, and Lazarus lived; and on the left bank of the Jordan, at a ford just before the Dead Sea, where John the Baptist baptized. In addition, there was a place called Bethabara, “house of passage,” by the gates to the desert. John the Baptist and later Mary, each in their own way, granted baptism, initiation, the right of passage, or the means of crossing the threshold. The two Bethanys, then, seem to mirror each other. Magdalene extends the echo of her precursor, John the Baptist. One is a man clad in hides and the other is a woman clad in her long mane of hair. The chief difference between them is that John remains in a harsh and terrible place, screaming in Essenian rigor his curses and his calls to repent, whereas Mary in Bethany, on the opposite where all is blooming and gay, speaks of love and forgiveness and the transition from one world to the next. While Jesus received from John a baptism in water, he did not receive, as the ancient kings had, a consecrating anointing with oil. Just before his Passion and “baptism by spirit and fire”--the crucifixion--he received the perfumed oil from the female Magdalene. The old and ancient notion of the priest-king applies to Jesus, but this royal unction, let me repeat, can only be performed by a priest--or priestess.
The unction in Bethany is surely one of the most important events in the life of Jesus. Furthermore, this is what Jesus himself says to his disciples who are always more or less hostile toward the whims of Woman: He declares to them that this woman truly did “what she had to do,” and even adds, according to Mark 14:9, “In truth, I declare to you, everywhere the Gospel is to be spread, throughout the whole world, one will also recount, in memory of her, the deed she has done.” This is acknowledgment of an uncommon power possessed by Mary that went far beyond a mere gesture of female vanity, which is clearly what the first disciples thought it to be, and underscores the importance Magdalene was given in the very words of Jesus.
Why, then, was Mary Magdalene relegated to such a minor role in the evangelical tradition as revised and corrected by the Church Fathers? Is the Christian sacerdotal class ashamed to owe so much to a woman?
And I cannot forbear from asking myself: what has the memory of the Church done to these words of Jesus? Isn’t there something yet to be explored there? And wouldn’t this something be the consecration of a specifically female ministry of a prophetic and charismatic nature that Jesus would himself have recognized and proclaimed as existing in tandem with the apostolic and sacerdotal ministry? What a unique place woman would hold in the very heart of the Church if this was the case!
The question certainly has been raised--and it seems that Abbe Sauni貥 may have answered it in his own way in the church of Rennes-le-Chateau.
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Meet the Author
Alex Grey is an artist whose work has appeared in the Stux galleries, New York and Boston; the London Regional Art Gallery, Canada; the University of California Museum of Art, Santa Barbara; the Chicago International Art Exposition; the New Museum, New York; the Grand Palais, Paris; the São Paulo Biennial, Brazil; and numerous other exhibitions. He is also the author of the book Transfigurations.
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